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SPAMM POWER (ϟℙ∀ℳℳ▁ℙϴШ€ℜ_TOUR) / (PHYSICAL & ONLINE EXHIBITIONS) SPAMM (SuPer Art Modern Museum)
http://www.spamm.fr We_Are_The_Power, We_Are_Internet❗️
We_Are_Now, We_Are_Here❗️
We_Are_SPAMM❗️
We_Are_Happy❗️
We_Are_TAAZ*❗️
We_Are_Art❗️ ��___CURATORS
Ellectra Radikalal & Michaël Borras A.K.A Systaime ��__03 / 31 / 2017 - 04 / 14 / 2017 / 19 H 19 @ Parsons Paris
SPAMM_POWER EXHIBITION / R3FRAG
http://dtparis.com/refrag_3/ ��___04 / 14 / 2017 / 14 H 14 @ Parsons Paris
OPEN_HOUSE_TAAZ*_SPAMM_POWER_AFTERNOON_PARTY @ R3FRAG / TEMPORARY AUTONOMOUS ART ZONE
http://dtparis.com/refrag_3/ COM’ W!TH YOUR ART / OPEN EXH!B!TION / COM’ W!TH YOUR LAPTOP / OPEN SCREEN!ING / SHOW YOUR ART AND DR!NK WATER / BE A PART OF TH!S EXH!B!T!ON !N PROGRESS… For ϟℙ∀ℳℳ▁ℙϴШ€ℜ, we wanted to identify the paths that artists plot on social networks to the convergence of several digital disciplines, to identify the links between the different groups of practices and research, and then to reconstitute a unit in a set open for this Exhibition to be discovered on the site SPAMM.fr UFOs of the web, flux electrons, artists and hackers of images and sounds, each figure has its own meaning. Together they form a larger drawing. Beyond the comfort zones, beyond criticism and confrontations, divergent feelings, SPAMM lives on the web well before thinking. SPAMM is an open space that does not contain its boundary. SPAMM is NO BORDER. SPAMM is the quantity not the scarcity. SPAMM is the horizontal space of digital creation. SPAMM is an irreducible complexity that escapes the domain of words. ...
Internet artist Rafaël Rozendaal presents a new exhibition about the screensaver. Rozendaal questions the anonymity and ephemerality of the screensaver and is fascinated by its subversive, playful and diffuse character. He creates an immersive space for the visitor that captures the extraordinary visual language of this virtually lost medium.
A Cyberfeminist Manifesto for the 21st Century was a project in multiple media that gave vivid expression to the emerging political position of cyberfeminism, which saw new technology as an opportunity to disrupt society’s patriarchal norms, and to have fun doing it. The manifesto was authored in a mode that spoke to the conditions of early network culture: collaborative, plagiaristic, possibly drug-fueled, and pornographic. The resulting text was distributed by fax, snail mail, paste-up poster, billboard, and online post, adopting the techniques of propaganda as an art practice. Through its circulation, it began to generate new versions, spinoffs, and critiques, giving rise to new worlds for artists and theorists to inhabit...
Ars investigates the nascent domain of turning source code and errors into art. Glitch art resonates with the increasingly complex love-hate relationship humans have with technology. Errors, and by extension the changes, that can occur within software source code and data can provide a fertile foundation for the imagination. In an attempt to explain this nascent artform, Martino Prendini wrote: “The error becomes image and movement, system errors are exploited, and it has a certain punk nature. At the same time, this kind of art exploits the glitch and uses it, so its nature is also entropic, dadaist... Glitch art is therefore the contradictory relationship between man and machine losing his functionality." ...
PREDICTIVE ART BOT is presently offering production aids in order to accelerate the physical dissemination of its deviant imaginary. This process will lead to a series of exhibitions across different countries, that becomes a hybrid laboratory for human/non-human augmentation. - PREDICTIVE ART BOT is a generator of non-human artistic concepts whose use, appropriation and misappropriation are completely free.
- PREDICTIVE ART BOT is a monitoring, forecasting and self-fulfilling prophecy tool that operates in the field of art and activism.
- PREDICTIVE ART BOT is a conceptual prosthesis intended to transcend creative constraints such as habit, socialization and education in order to bring about, through inspiration, the creation of completely new objects.
- PREDICTIVE ART BOT is, at times, a system of sponsorship offering production aids in order to accelerate the physical dissemination of its deviant imaginaries.
- PREDICTIVE ART BOT is a series of exhibitions across different countries that becomes a laboratory for human/non-human augmentation.
- PREDICTIVE ART BOT is a virus that transmutes trends into the unexpected.
- PREDICTIVE ART BOT is, at its best, a lucky accident between words that the machine can’t comprehend and your own imagination.
- PREDICTIVE ART BOT is a manifestation of the AIvant-garde to come.
Created by Moniker (Roel Wouters & Luna Maurer) and made in conjuction with We Are Data travelling installation, Clickclickclick.click reveals the browser events used to monitor our online behaviour. The website invites the visitor to play along, direct behaviour to unlock “achievements”. Ranging from how many times you click on a button to how fast you move on the page and even how fast is your clicking speed, with the narrator voice who draws conclusions about your character based on your mouse behaviour, the website demonstrates the amount of behavioural data that can be/and is collected today through online services and advertising...
Satellites are used for almost all modern achievements, from communication or navigation systems to environmental monitoring and military purposes. By now there are approximately 3000 satellites in orbit, about 1000 of those are still operating. The majority of these objects revolve our planet in 200km to 2000km height, with an orbital period of 90 to 130 minutes. Despite their overall application, we hardly notice their existence. From earth they are visible only in the rare case, that they are in the perfect angle to reflect the sun. All necessary data about the positions and paths of satellites is known though, as it is crucial for determining free spots for new satellites. Accessing this information allows the drawing machine SATELLITEN to keep record of the sheer amount of satellite flyovers in regard to its own location. In a square of approximately 10cm², the machine traces their lines in real time until the far away object leaves our horizon again... Quadrature is a collective for arts, light and robotics. http://quadrature.co
Since 2014, Prix Net Art has celebrated the current moment of net art and its future. The prize was created by Rhizome and Chronus Art Center in response to a relative scarcity of support and recognition for the field, and to promote public conversation about the crucial but always changing role of the internet in contemporary culture and artistic practice. Awards of $10,000 and $5,000 will be given to two artists who are committed to working online and who represent important forward directions in contemporary net art practice.
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On October 27, Rhizome will launch a major new initiative, Net Art Anthology, with a presentation and panel discussion bringing together a group of artists who championed distinct and often conflicting approaches to net art practice in the mid to late 1990s.
Funded by a grant from the Carl & Marilynn Thoma Art Foundation, Net Art Anthology is Rhizome’s ambitious project to retell the history of a field of artistic practice in which even the most influential works often fade into obscurity as a result of technological obsolescence. It will restage a diverse selection of one hundred works from net art history, one per week, over the course of the next two years. The first phase of the Anthology will focus on works created before 1999, and launches on the day of the event with A Cyberfeminist Manifesto for the 21st Century (1991) by VNS Matrix...
Daft Gallery believes in the strength and the potential of anonymous artists. We are therefore deeply committed to the growth and development of this kind of artists, and through a market oriented approach and promotion internationally. Daft Gallery supports and represents anonymous artists whom, in their work, remain true to their convictions and their ideals. We are the intermediary between artist and client and place equal value on the interests of both parties. As gallery we offer the artists a professional and stable basis which serves as a solid foundation for the development of their careers. We support not only the development of the artist, but also the development of the art market, since ultimately this benefits the artist as well as the client. It is after of great interest to the client, when the artist he or she has invested in, is capable of growing professionally. This process is also particularly well served when the number of collectors of Post-Internet Art increases. Our international goal is to increasingly present and promote anonymous artists. For another art galleries that are searching new ways of art, we offer our service. In close collaboration with the client the most fitting selection is put together for each particular space....
Rhizome is pleased to announce the first full release of Webrecorder, the free online tool that allows users to create their own high-fidelity archives of the dynamic web. All internet users are now invited to sign up for a free account with 5GB of archiving storage space at webrecorder.io. Current digital preservation solutions involve complex, automated processes that were designed for a web made up of relatively static documents. Webrecorder, in contrast, can capture social media and other dynamic content, such as embedded video and complex javascript, while putting the user at the center of the archiving process. This release offers a number of improvements to the fidelity, usability, and stability of the platform.
How would the internet look like if all data were temporary and ephemeral?
An Internet unfolds a vision of such a future internet, with a radically new type of data: smoke.
An Internet converts the 280 internet undersea cable names into (binary) smoke signals.
The names are puffed into the glass network, causing it to fill up, to spill over by which it puffs the data out again. Together the smoke signals create a unique moment without any form of documentation.
Ce sixième numéro de Vidéographies défriche le champ ultra-contemporain du champ Art(s) & Hacktivisme. Spécialiste du domaine, Jacques Urbanska nous guide à travers pas moins de 25 œuvres et performances mêlant arts, sciences et militantisme.
Par les détournements opérés par les hackers, des objets du quotidien au réseau informatique, le spectateur ou l'utilisateur est amené à repenser son rapport à la société d'aujourd'hui.
Diffusion ce samedi 02 juillet 2016 sur la troisième chaine de la RTBF (en partenariat avec Transcultures). Online 7 jours >> http://www.rtbf.be/auvio/detail_videographie?id=2123944 Avec les oeuvres/projet de : Adam Harvey (De/USA), Alessandro Ludovico + Paolo Cirio (It), Christoph Wachter & Mathias Jud (Ch), Compagnie Le Clair Obscur / Frédéric Deslias (Fr), Digital Kitchen (USA), Dries Depoorter (Be), Emmanuel Pire (Be), Esra’a Al Shafei (Bh), Eva Mattes & Franco Mattes (0100101110101101.ORG It/USA), FuturePerfect Productions (USA), Gilberto Esparza (Mx), Jacob Tonski (USA), Jacques Servin & Igor Vamos ( The Yes Men - USA), Josh Begley (USA), Josh On + Futurefarmers group (USA), Julian Oliver (Nz/De) & Danja Vasiliev Superdrone Oneslave (Ru/De), Julius von Bismarck (De), Ztohoven (Cz)
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Annie Abrahams est identifiée comme une artiste précurseur liée à l’Internet et c’est sans doute sur la base de protocoles que son travail pourrait être défini. Rassembler des performers, d’âges, personnalités et milieux diversifiés, les mettre en frottement les uns avec les autres et étudier, analyser ce qui en ressort. Il s’avère cependant que ce ne sont pas les conditions d’existence de la performance même qui l’intéressent, ce seraient plutôt les espaces de liberté qui émergent et l’appropriation qu’en font les performers. Annie Abrahams le dit simplement, elle n’est pas performeuse, elle étudie les conditions d’évolution et d’existence des corps en performance sur Internet. La performance fait usage de protocoles, car elle implique de façon indispensable de situer dans le temps les différentes actions et étapes de son déroulement...
On a recent afternoon, Brad Troemel showed me an image of a sculpture that seemed beyond belief: seven hundred monarch butterflies stacked on a levitating magnetic pedestal. Troemel had devised the sculpture six months before, and listed it, for twelve hundred dollars, in his online art store, Ultra Violet Production House. The work looked catalogue-slick, but it didn’t actually exist; the image had been created in Photoshop. The buyer would receive the components to make the work, along with directions for assembling it and a certificate of authenticity. Then she would build it herself, gluing on the butterflies one at a time. Troemel had calculated that the butterflies would weigh about thirteen
The Stedelijk Museum Amsterdam and MOTI in Breda are jointly acquiring 17 top digital works by contemporary artists in the Netherlands and abroad who are among the pioneers of digital art. This collaboration is spurred by MOTI’s change of course: it is due to reopen in the course of 2017 as the Stedelijk Museum Breda, where the legacy of the city of Breda will have a more prominent role.
In the short space of time that it existed, and under the management of Mieke Gerritzen, MOTI – founded in 2011 – has managed to build a remarkable collection of digital works by leading artists. The joint acquisition with the Stedelijk Museum Amsterdam means investing in a national collection in the field of digital art. This merging of curatorial vision transcends local museum policy. The course taken by MOTI in the collection of digital art coheres perfectly with the policy of the Stedelijk Museum Amsterdam, which is always geared to new forms of art with a particular interest in the cross-over between graphic design and visual arts.
This two-year online exhibition will present 100 artworks from net art history, restaging and contextualizing one project each week. Devised in concert with Rhizome's acclaimed digital preservation department, Net Art Anthology also aims to address the shortage of historical perspectives on a field in which even the most prominent artworks are often inaccessible. The series takes on the complex task of identifying, preserving, and presenting exemplary works in a field characterized by broad participation, diverse practices, promiscuous collaboration, and rapidly shifting formal and aesthetic standards, sketching a possible net art canon.
A few years ago, Amin Davaie had a goal in mind that proved impossible to attain. He had decided to study Design and Technology at Parsons, The New School of Design in New York. However, since life circumstances in Iran often take us on a different path than intended, he also involuntarily had to change his. This eventually changed his professional trajectory.
Today, Saman Tehrani, who had recently collaborated with Amin on a few projects, is studying at the same university and majoring in the same field. The duo decided to collaborate again to digitally represent Amin’s unfulfilled wish within the context of an interactive installation, while maintaining that any representation is always incomplete. The head sculpture located in Tehran, Iran maintains its orientation in sync with Saman's head orientation in realtime. Wearing a headband equipped with sensors Saman lives his ordinary life in New York while at the very same moment, a physical presence of him is being experienced in Tehran. Amin Davaei & Saman Tehrani
2015
tadaex.com/2015/artists/amin-davaie-saman-tehrani/
For the past decade, along with fellow former members of the late hacker-net artist collective Free Art & Technology (FAT) Lab, American artist Evan Roth has been “dedicated to enriching the public domain one mutha-fuckin LOL at a time,” as the collective writes in their mission statement. Roth’s net art stunts have includedamassing a GIF army to Occupy the Internet; hacking his internet cache to create digital “self-portraits;” fooling the Google algorithm into making his name the number one search result for “bad ass mother fucker,” and creating a browser plug-in that erases Justin Bieber from the internet. But in recent years, especially in the wake of the NSA spying scandal, Roth has found himself disillusioned with the “monetization, commercialization, and centralization of the internet,” as he tells Hyperallergic....
The importance of net.art will never be adequately addressed while the history of art is written by the museums, galleries and the market. Many artists affiliated with this 1990s art movement deliberately used the Internet to circumvent the machinery of the art world or made works that are difficult if not impossible to exhibit and sell. But net.art still offers an essential critique of our relationship to the Internet as well as a compelling demonstration of how art can challenge it from within. Recognising that the dust has not yet settled, curator and critic Domenico Quaranta composed four short hypotheses about net.art built around the Introduction to net.art (1994–1999) by artists Natalie Bookchin and Alexei Shulgin in 1999.
In a shared online document, four artists and artist groups who helped shape the course of net.art – UBERMORGEN, JODI, Vuk Cosic, and Olia Lialina – respond with their own take on what happened.
Two lovers in the middle of the dance floor. They link arms and begin to spin. The room blurs as they stare deep into each other’s eyes.
This classic scene is found throughout modern romantic cinema, often shot from an over-the-shoulder and point-of-view cinematography. In A Truly Magical Moment, visitors can re-enact this “Magical Moment” using the contemporary communication tool for many long-distance relationships: Apple’s proprietary FaceTime technology.
Gallery visitors and online guests can use their iPhones or computers to video chat the two FaceTime accounts. When two guests connect one to each phone in a virtual “face to face”, the sculpture begins to spin, reaching dizzying speeds while romantic music plays in the background. At top speed, the background blurs and warps, while the image of your dance-partner remains in focus.
After 60 seconds of a “Truly Magical Moment” - a wordless, “genuine connection” with another person - the rotation slows down to a standstill, while a nearby digital counter keeps count of the amount of “Magical Moments” enabled throughout the exhibition.
A Truly Magical Moment was made possible by financial support from the Canada Council for the Arts and The Agosto Fondation.
Microprocessor programming: Lucas Paris
Consultation: Antonin Sorel
http://www.adambasanta.com
recto/verso: Being one of the pioneers of net art, what is your definition of it? How do you distinguish someone who makes art online from someone doing things online? I think that Capture follows this path of reflection exactly…
Gregory Chatonsky: It would be difficult to summarize all the history of netart. It has given rise to many debates and multiple strategies. What I have noticed is that very quickly, some players in the netart wanted to invent its History and, at the same time, historicize themselves. The almost immediate passage between Contemporary and History seems to be a symptom of our time: we know that all is going to be lost very quickly, that immediate obsolescence is also going to affect our devices and that we need to develop discourses to follow in another temporality. Thus the notion of pioneering, of frequent use, is rooted in the imagination of the American West, of the Wild West in Silicon Valley. When the classic net.art declare that the netart died, there is, beyond a false forward thinking, a way of appropriating a domain: because if it is dead, we are simultaneously the first and last. The act of certifying death is also a declaration of birth. I think it’s time to make a critical juncture and analyze from a distance this historicizing procedure as an artistic capture strategy. Unfortunately some art historians have taken this to its first degree. As for the distinction between an art that would address the network as a medium and a different art, which would consider it in a strictly instrumental way, I see it there an avatar of Greenbergian modernity where the sovereignty of the artwork is identified with the process of empowering the medium. What interests me here is how the “net art” reactivated past discussions and became a bearer for nearly 20 years of a certain modernist posture that saw the development of coding, glitch, GIF, etc. Web for web, art for art, money for money, these self-references circulate on each other...
This year, Rhizome will award net art microgrants ranging from $500 to $1500 to fund the creation of new artworks or online exhibitions. Special emphasis will be given to projects that fall in one or more of these categories: - experimental narrative
- artists living in NY
- new browser-based works or series of curated works for front page exhibition on Rhizome.org.
The Macintosh Lab series has been in standby during the last three years, but it has been recently updated and firstly featured through two great mediums ; two new pieces are announced on the last issue of the Japanese magazine MASSAGE 10 containing a screenshot series “Vertical Desktops” and a screen video capture called “Returning Folders”, and another four new screen-video-captures exploring the "Opening Folders" property from the operative system have been presented in a group exhibition titled Kaleidoramacurated by Josephine Skinner at Stills Gallery, Sidney. All these new pieces have in common a gradient rainbow color palette which has been used as background of the folders performing in live on the desktop and which color gradient composition and design varies depending on the animated concept of every piece. Into the post you can read and watch all of them...
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